The Shining (1980) Mono Certification: Argentina:18 (original rating) | Argentina:13 (re-rating) | Australia:M (original rating) | Australia:MA15+ (re-rating) (1999) | Brazil:14 | Canada:18A (British Columbia) | Canada:R (Manitoba/Ontario) (original rating) | Canada:R (Nova Scotia) | Canada:18+ (Quebec) (original rating) | Canada:14A (Manitoba/Ontario) (re-rating) (2007) | Canada:13+ (Quebec) (re-rating) (2007) | Chile:18 | Denmark:15 | Denmark:15 (DVD rating) | Denmark:16 (video rating) | Finland:K-16 (1992) | Finland:K-18 (1980) | France:12 | Germany:16 | Greece:K-17 | Hong Kong:III | Hungary:18 | Iceland:16 | India:A | Ireland:18 | Ireland:16 (theatrical re-release)

 (2012) | Italy:VM14 | Japan:R-15 | Malaysia:U | Netherlands:16 | New Zealand:R16 | Norway:18 | Philippines:X | Portugal:M/16 | Singapore:M18 | South Korea:(Banned) (original rating) | South Korea:18 (DVD rating) (2004) (uncut) | Spain:13 | Sweden:15 | UK:X (original rating) | UK:15 (re-rating) (2007) | UK:18 (video rating) (1986) | USA:R (Approved #25995) | West Germany:16 Filming Locations: from London I can't praise this film long enough!

The Shining is, without doubt, one of Stanley Kubrick's undisputed masterpieces and a true classic in horror cinema. It is a film that, over the course of the years, has managed to scare the living hell out of its audiences (and still does). The film is an adaptation of Stepehen King's original novel, written in the late '70s, and although the film is not very loyal to the book, it still stands as a thing of its own. Right from the beginning, as we contemplate the car going to the hotel from those stunning aerial shots, deeply inside us we know that something in the film, somehow, sometime is going to go wrong. As we obtain that severe warning, an almost inaudible voice gently whispers to us 'sit tight', a sense of unexpectedness invades us all, and it is that very same feeling that makes our hair stand on end throughout out the entire movie. The plot is simple: Jack Torrance (Jack Nicholson) becomes the caretaker of the Overlook Hotel in up in the secluded mountains of Colorado.

Jack, being a family man, takes his wife (Shelley Duvall) and son (Danny Lloyd) to the hotel to keep him company throughout the long, isolated nights. During their stay, strange things occur when Jack's son Danny sees gruesome images powered by a force called 'the shining' and Jack is heavily affected by this. Along with writer's block and the demons of the hotel haunting him, Jack has a complete mental breakdown and the situation takes a sinister turn for the worse. The film, unlike many horror-oriented films nowadays, doesn't only rely on stomach-churning and gory images (which it does contain, anyway) but on the incredibly scary music based on the works of Béla Bartók and on the excellent cinematography (the Steadicam is superbly used, giving us a sense of ever-following evil), as well. The terrifying mood and atmosphere of the film is carefully and masterfully woven by Kubrick, who clearly knows how to really make a horror movie. Jack Nicholson's powerful performance as the mad father and husband is as over the top as it is brilliant.

Shelley Duvall, who plays the worrying wife who tries to help her son, is also a stand out; she shows a kind of trembling fear in many scenes and is able to display weakness and vulnerability in a very convincing way. Undoubtedly, The Shining is full of memorable moments (the elevator scene or the 'Heeeeeere's Johnny' one-liner for instance) and, simply put, it's flawlessly brilliant. Stanley Kubrick's direction is pure excellence, giving the whole film a cold and atmospheric look, thus creating an unbearable sense of paranoia and terror. There are moments of sheer brilliance and exquisite perfection in this film; the horrifying maze chase is a perfect example. Every single shot is masterfully created and there are some genuinely scary scenes which will make you sit on the edge of your seat. The Shining is, in my opinion, a special landmark in horror cinema which will always be regarded as one of the scariest movies in film history. Since I saw it last year, when I was 13, I have rarely been able to have a bath in my bathtub.Just in case, ya know.

Overall, The Shining is incomparably the scariest film I've ever seen in my whole life (and I can tell you I've seen a great deal of horror films). It is an unforgettable, chilling, majestic and truly, profoundly scary film crafted by an eccentric genius who wants to show that the impossible can be done. The Shining is a sublime, hauntingly intriguing and endlessly watchable film that shows Kubrick at his best. Was the above review useful to you? Jack Nicholson | Films of the 80s Films of the 80s The decade's movies and more Search Reply This Thanksgiving break I decided to sit down and watch the not so-wholesome family film, The Shining(1980), directed by Stanley Kubrick and starring one of my favorite actors Jack Nicholson. While I had seen the film before ages ago, I wanted to re-watch the film to see if I would have a greater appreciation for the film and not be afflicted with nightmares from the eerie setting of the infamous haunted hotel that is of course built on top of none other than Native American burial ground.

The Shining was Kubrick’s only real dive into the horror genre, but of course like all of Kubrick films, there is strong psychological component to the film. Even more so when the film is considered to be in the “psychological horror” genre. In the film, what in my opinion adds to the suspense and intensity of the film, is the slow paced nature of the film and subtle corruption of the characters. Especially Jack Torrance (Jack Nicholson) as he resorts back to his old habits of drinking and becomes influenced by the supernatural entities of the hotel. The filming techniques used in the film, such as when the camera is at the same height level as Danny, Jack’s son, and when we see what Danny is seeing through via his telepathic hallucinations. These scenes truly immerse the viewer into the events unfolding in the hotel. One scene in particular, the famous “Hallway Scene” managed to instill a strong sense of claustrophobia and sensation of entrapment as I watched Danny riding through the halls of the hotel on his tricycle as he encounters visions of the past. Hallway Scene Jack Nicholson of doesn’t fail to deliver an excellent performance of a truly horrifying psychotic husband.

As the film progresses and Jack falls deeper and deeper into the clutches of insanity, his outbursts to his wife Wendy escalate from irritation and annoyance when he is interrupted by her when he is writing, to violent outbursts with clear murderous intent, such as the iconic baseball bat scene on the stairs, and of course, when Jack breaks down the bathroom door with an axe. “I’m not going to hurt you.” Overall if you haven’t seen The Shining I highly recommend it. Watching the film is quite an experience and is by far one of my favorite psychological horror films. By the end though, you will be left that familiar feeling of having just gotten off a mental roller coaster, that you get after having watched a Kubrick film. Reply Imagine you’re on a date and just leaving the midnight showing of Skyfall. It’s dark, cold, and you’re walking to your car. As the crowd disperses, a few men start walking behind you as you walk across the empty parking lot. As you get closer and closer to your car, you notice the group is walking faster and getting awkwardly close to you two and your car is the only one is sight.

As you go to open the door they push you against the car and demand for you money and pull out a knife. You fumble and pull out your cash, dropping it on the ground. There’s a whoosh of material and sound of struggle. You look up and the thieves are on the ground writhing in pain. You notice in the corner a dark figure and you lock onto eye starring back at you. You turn your head to look at your date and next thing you know, whatever was there is gone. Could it be? Is it really? I had to be… Batman… Batman originally appeared in the 1930’s and was known to have the comedic “BOOM! POW” with Adam West. Tim Burton’s Batman now takes a darker spin filled with Prince being played in the background and sets up the Batman Anthology that ran into the late 90’s. If you’re looking to find the backstory of how Batman is developed, this isn’t the movie for you.

You are immediately immersed into action with the bad guys fearing “The Bat!” Bruce Wayne may look like a pushover, but rest assured, this glasses wearing, tuxedo sporting millionaire has deep hatred in his blood for those evil-doers and his solution is a glove covered back fist! Played by Michael Keaton, who starred in Gung Ho and was fresh from another famous Tim Burton film, Beetlejuice, had the right attitude and innocence to pull of the role. Jack Napier, who is turned into Joker, is played by Jack Nicholson. Being known more for his role in The Shining, Nicholson is able to play the nuisance role superbly Accompanied by the BEAUTIFUL Vicky Vale, Kim Basinger, this movie is able to not only pit Batman versus Joker to save Gotham, but the damsel in distress. Just like all the movies from the 80’s, this one has the potential to make your night at home just as nostalgic. Make sure to check this out and see what inspired the Batman Animated Series. 1 “Heeere’s Johnny!” This was one of the most terrifying movies I have ever seen, which came as a surprise to me.

Although I had heard about how scary it was, I had a pre-assumed opinion that since it was made in 1980, it wouldn’t compare to the horror techniques of the 21st century. I was very wrong. Stanley Kubrick, who is a master of the moving camera and traveling shot definitely delivers on this film by not using your typical “slasher flick” characteristics or thumping soundtrack in order to frighten the audience. Kubrick adds such a creepy and eerie feel by using traveling camera shot as well as choppy cuts of montages such as in the scene with Danny and the twins in the hallway. The film starts off by introducing us to the Torrance family consisting of Jack, Wendy and their troubled son Danny. They arrive at the Overlook Hotel, where Jack has taken a job to be caretaker of the hotel when it closes for the winter. Wendy seems unsure but Jack convinces her that they need the money and he will be able to work on his new book. Meanwhile Danny seems to have some schizophrenic tendencies claiming that a man named “Tony,” talks to him; Tony is not a good guy.

They meet with the hotel’s manager, Halloran who takes an interest in Danny claiming he has a ”shine.” As the staff leaves, the Torrance family settles into their new home. Danny begins to have strange encounters with unfriendly and horrifying spirits and Jack starts to slip into insanity while Wendy feels alone and helpless. When Wendy starts to realize that the hotel possesses some demonic force and that Jack is beginning to go insane. She then realizes that she must save herself and Danny. Although this movie was terrifying, the directing and acting was incredible. I would really recommend this movie to anyone who can handle it. I must warn that I found myself covering my eyes and jumping at some parts, those who frighten easily should not watch this. Kubrick is an absolute genius and the directing is really well done. I think it holds up to time and is relatable to now because Jack Nicholson is still on the movie scene and since it wasn’t made in the slasher film way where the blood looks fake and the villians look fake, it still proves to be scary in today’s time.

1 After viewing the 1989 Batman starring Michael Keaton last night (which was a trial by the way–Amazon Instant Video and I are seeing other people) I started to compare Jack Nicholson’s take on the Joker to Heath Ledger’s. Perhaps I am simply biased towards Nolan’s trilogy, which is, in my humble opinion, one of the best super-hero movie franchises ever created—but the character Nicholson portrays, while certainly deranged, leaves something to be desired. Take the creation of the Joker for example. I find it difficult to believe that a run-of-the-mill gangster can become ten times as psychotic—not to mention pasty— as a result of falling into a vat of mysterious green liquid. Ledger’s character, though he never gives a precise account of where exactly his scars came from, leaves viewers completely convinced of his psychological instability. Whether this Joker’s tortured psyche stems from parental abuse or a failed marriage, Ledger’s character always leaves me wanting to put my hands in the air and say, “Okay, buddy. I got it. Just don’t kill me.” Another reason I find myself favoring Nolan’s Joker is the rivalry that the director develops between Batman and the classic villain.

There are two almost identical scenes in both the 80s Batman and The Dark Knight. In Batman, the Joker stands with his arms wide, willing the “flying bastard,” to come closer. In this scene, Batman flies directly at his enemy, fully prepared to kill him. Similarly, the only reason the Joker wants to engage the caped crusader is to pull out a ridiculously huge gun and deal a fatal blow. In The Dark Knight, a similar scene takes on an entirely different dynamic. In this scene, the Joker stumbles down the street, randomly shooting a machine gun muttering, “Come on, come on I want you to do it. Hit me. Hit me!” This scene functions so differently due to the backstory of both characters—Bale’s Batman, with his “one rule” against taking life, cannot bring himself to hit the Joker, however much he might want to. The Joker knows this, and continually challenges Batman to break his moral code. It seems, particularly in this scene, that he wants to be the first casualty of Batman’s war against organized crime in Gotham. The surface enmity of Nicholson and Keaton simply cannot compete with the ethical, “battle for Gotham’s soul,” of The Dark Knight .

The Shining (1980) – Jack Nicholson, Shelley Duvall, Danny Lloyd The Shining (1980) – Jack Nicholson, Shelley Duvall, Danny Lloyd Stanley Kubrick’s Vision of the Stephen King Novel October 11 2012 Categorized Under: Movie Reviews No Commented You are here: Home » Movie Reviews » The Shining (1980) – Jack Nicholson, Shelley Duvall, Danny Lloyd The Shining (1980) Directed by: Stanley Kubrick Starring: Jack Nicholson, Shelley Duvall, Danny Lloyd, Scatman Crothers, Barry Nelson, Philip Stone, Joe Turkel, Anne Jackson (out of 4) This section closed for maintenance. Please use the stairs. Jack Torrance: Mr. Grady, You were the caretaker here. Delbert Grady: I’m sorry to differ with you sir, but you are the caretaker. You’ve always been the caretaker. I should know sir. I’ve always been here. Stanley Kubrick’s The Shining, his own interpretation of the Stephen King novel , is truly macabre, spooky, and mysterious.

It’s been called “the first epic horror film” by Jack Kroll ; I think he’s onto something. It’s not “epic” in terms of carnage, body count, or action, but in mood and setting. The Shining simultaneously seems grandiose and claustrophobic – a paradox pulled off by the skills of an auteur director, excellent acting, and jaw-dropping sets. The Overlook Hotel, central to the story, is truly something to behold, a work of art. It’s some fine anthropomorphism Kubrick has created here – I can’t remember many other films where I consider a building as a major character. I don’t know how much I can really write about The Shining that hasn’t already been covered by other reviewers, authors, and documentarians. But I’ll try. You talkin’ to me? In case you’re not familiar, the story of The Shining centers around schoolteacher-turned-writer Jack Torrance, who lands a job as winter caretaker for the isolated Overlook Hotel in Colorado (the outside shots are actually of the Timberline Lodge in Mount Hood, Oregon). Jack brings along his wife Wendy (Shelley Duvall) and young son Danny (Danny Lloyd).

Danny has an imaginary friend called Tony, who manifests himself as a funny finger-wag and gravelly voice (the kid sure has imagination). Unbeknownst to Danny’s parents, however, Tony is really just a way for Danny to cope with his psychic abilities, which enable him to see past and future events, and other supernatural phenomena. There’s a great sequence (in a movie filled with great sequences) where the hotel cook Mr. Hallorann (Scatman Crothers) reveals his own psychic abilities to Danny, which he calls “Shining.” Danny wonders aloud about whether “something bad” lives in the hotel and what exactly went down in room 237, which causes a suddenly agitated Hallorann to warn Danny to stay out of there. After a month goes by, we see violent changes in Jack’s behavior (it’s already been established that he lost his temper once and accidentally hurt Danny) as he is unable to make any headway on his writing project. In the meantime, Danny keeps having horrible visions of blood flowing down hotel corridors and the remains of two girls cut up with an ax.

His curiosity gets the better of him and he goes into room 237, while Jack himself is visited by spirits of the hotel who tempt him with drink (since he’s a teetotaler). It just goes downhill from there; soon Wendy and Danny are in real danger. It turns out there is indeed something bad living in the hotel, and through Jack it intends to tear the Torrance family apart. But more than that, the spirits of the hotel intend to claim Jack as their own (and because of Jack’s moments of déjà vu and the surprising ending-reveal, their claim may be legitimate). The Shining perfects the concept of the slow-burn. It takes its time, but nothing in the film seems padded. The horrors are mostly psychological; this is a film about the destruction of a man (or, his emasculation, at least) and destruction of the family unit. Jack Torrance’s weaknesses are easily exploited by the ghostly residents of the Overlook – his fear that he is losing his manhood, his purpose, his status as head of the family. You get the sense that his job prospects as a teacher didn’t pan out in Denver.

He can’t seem to get past his writers block (and a scene later in the film where Wendy stumbles across his work is both frightening and funny). He probably feels weak because of his alcoholism. In the end, the hotel is all he has left (when Wendy asks to take Danny and leave the hotel, he rages at her, concerned about his “responsibility to his employers.”) Good thing we asked for late checkout The Shining is a film filled with iconic scenes – even those who haven’t seen the film are probably familiar with certain images. The axe-through-the-door (“Here’s Johnny!”), the twin girls, the blood in the hallway, Room 237, Danny driving his tricycle through the corridors, Jack’s confrontation with Delbert Grady (Philip Stone) in the bathroom, Lloyd the Bartender (Joe Turkel), the great hedge maze, Jack and Wendy’s fight in the lounge (“I’m not gonna hurt ya.. I’m just gonna bash your brains in!”), and of course, the REDRUM scene. Visuals alone make The Shining required viewing, but Nicholson’s performance is a tour-de-force.

I also liked Duvall’s performance alot – she plays Wendy with just the right mix of vulnerability and resourcefulness. Danny Lloyd is also such a cute kid in this, but he plays the character with the right amount of reserve (and his ability to switch between “Danny” and “Tony” at will is amazing for a young actor). Scatman Crothers is also wonderful. You can’t handle the truth! The Shining also raises a lot of interesting questions and opportunities for analysis. Notice the Native American decor and the story that Stuart Ullman (Barry Nelson) tells the Torrances about the Overlook hotel being built over an Indian burial ground (“I believe they actually had to repel a few Indian attacks as they were building it.”). Is The Shining really a story about the unspoken genocide of the natives that paved the way for the rise of America? Take Jack’s racism (“White man’s burden”) and the killing of a key character, Ullman’s description of former Presidents being “all the best people”, Grady’s insults at Hallorann (a minority), the final shot of a photo from a July 4th ball. (Check out Bill Blakemore’s essay for more).

Then there’s the duality theme – Jack meets a butler named “Delbert” Grady who looks much like Charles Grady, the former caretaker who killed his family with an axe. Many clues suggest Jack himself has been at the hotel before (reincarnation?) Does the Overlook have control over its guests for all eternity? Then there’s the discovery that much of the layout of the Overlook hotel is spatially impossible . Like the hedge maze outside, the hotel is a ghostly labyrinth. The Shining came out in 1980 and the movie has remarkable staying power. Like Carpenter’s The Thing , I never seem to tire of watching it. Kubrick approaches the material with a certain cold, clinical style, but it works within the context of the film, giving a sense of isolation and dread. His camerawork here is fluid and precise. There’s also something to be said for the soundtrack, which splits between Krzysztof Penderecki’s creepy compositions and Ray Noble/Al Bowlly’s 30s jazz numbers. The Shining is required viewing and still remains one of my favorite horror films. – Bill Gordon Also must read: Rob Ager’s in-depth analysis of the film.

A Note On The Aspect Ratio There has been widespread discussion on Kubrick’s original “intended” aspect ratio for the film. The short answer: 1.85 to 1. The long answer: Kubrick didn’t want the film to be modified via Pan-and-Scan for television showings, so he insisted that the unmatted 1:33 version be released untouched. Lots of films (like The Shining) are shot in 1:33 and matted for widescreen. For example, the Stanley Kubrick collection DVD is in 1.33:1. But because of that, the parts of the left and right side of the screen will be missing. In comparison, the 2-disc special edition DVD is in 1.78:1, which means parts of the top and bottom of the screen are missing. In my opinion, the Blu-ray (which is in 1.85:1) is the proper way to view the film. The stuff missing from the top and bottom of the screen was never really intended to be viewed in the theater. Are we ever gonna get served?

The Shining (1980) Starring: Jack Nicholson, Shelley Duvall, Danny Lloyd - Three Movie Buffs Review Reviewed on: October 30th, 2014 Jack Nicholson and Danny Lloyd in The Shining The Shining is a film my brothers and I saw many times when we were young. As I watched it, I remembered many lines I had forgotten and no doubt my brothers will as well. Kubrick created many memorable moments and images that will stay with you long after the credits have rolled. The ambience of the massive hotel in the isolated mountains is a perfect setting for a haunting. The Overlook Hotel is an old summer resort in the Rocky Mountains that closes down every winter due to its isolation and the harsh winters. Jack Torrance, a former teacher and wanna-be writer, is hired to look after it, doing such mundane work as keeping the boilers going so the pipes do not freeze. Jack is informed that a previous caretaker murdered his wife, two daughters and then himself. Jack is not bothered by the story as he is more interested in the isolated time to write a novel. Jack does not tell his wife, Wendy, or their psychic son, Danny, about the murders.

When given a tour of the hotel by the hotel cook, Danny discovers that he is not the only person with the ability to know things. “How'd you like some ice cream, Doc?” The cook calls it "Shining.” As far as his parents know, Danny has an invisible friend named Tony. What they do not realize is that Tony is actually a spiritual presence in Danny that tells him things he needs to know. As they begin their solitary confinement, everything seems copacetic. Then Jack becomes irritable, short tempered, confused and eventually his sanity slips away at an increasing rate. Danny is the first to see some of the hotel ghosts in the form of the murdered daughters. Their line, “Come play with us, Danny.” is as creepy today as it was the first time I heard it. Jack first sees one when he enters the empty hotel bar and says, “I’d sell my soul for a glass of beer.” If ever there was a cue for a demon to appear. Wendy does not see them until the end when it seems as if the spirits of the past have all come out to play.

After being attacked in a room, the cook warned him to stay away from; Danny tries to contact him with his “Shining” for help. Jack meanwhile, quickens his trip over the edge. Is he going crazy or is he possessed? Wendy finds herself confused and scared of her husband. She realizes he has lost it when she reads the many pages of his novel, no doubt titled, “All Work and No Play Makes Jack a Dull Boy.” Danny also goes through a change when Tony takes over. “Danny isn't here, Mrs. Torrance.” Things start to spin completely out of control with Tony’s warning of, “Redrum!” While the cook tries to return to the Overlook Hotel, Jack decides his family needs to be dealt with. This all leads to Jack chasing them with an axe. Here we have the famous scene of Jack hacking a whole in a door and saying such lines as, “Little pigs, little pigs, let me come in.” “Heeere's Johnny!” and “Wendy, I'm home.” Jack Nicholson plays crazy with such gusto and panache that he is scary as hell just by staring. His actions and delivery of any line mark him as capable of any heinous act.

Even before he sees the bartender, Jack acts as if he flew over the cuckoo’s nest one too many times. He truly plays Jack as one of the most frightening characters in film history. Shelley Duvall is also amazing. She spends much of the film trying to keep up with all that is going on around her. She goes from optimistic to confused and then scared for her and her son’s life. I found one of her best scenes to be early on when she talks nervously to the doctor about Jack’s past. Danny Lloyd as Danny Torrance was perfect casting. He spends most of the film with a look of intense curiosity on his face. As he was only six when this movie was made, Kubrick was careful to keep him away from the violence and gore. Note how few times he is actually in the same shot as Nicholson. Lloyd did not even realize this was a horror film until several years later. He first watched The Shining when he was 16. He would only make one other movie before moving back to the Midwest, where he became a teacher, got married and had six children. I wonder if he makes them wait until they are 16 to watch this.

The Shining is truly one of the best horror films ever made. It does not have the fastest pace or largest body count by any means. What it has is Kubrik showing us just enough to get us to want to see and know more. He draws you in right away and builds your interest with every passing scene. Like an experienced stripper, he knows when to reveal something and when to hold back, keeping the audience completely enthralled throughout. Did you enjoy Eric's review? +9 Reviewed on: October 31st, 2014 Danny Lloyd meets the ghosts of the little girls in The Shining. Unlike Danny Lloyd, I can remember watching this movie at a fairly young age. Probably too young, to be honest. I remember being creeped out by it then and even now, over 30 years later, it still manages to disturb. Stanley Kubrick's visionary directing style on top of Stephen King's story (although much was changed from page to screen) is a potent combination. Although it's now justifiably considered a classic, it may surprise you to learn that it wasn't hailed as a masterpiece upon its release.

In fact, Kubrick and Duvall were both nominated for Razzies for worst director and actress, respectively. While most critics have since revised their opinion, Stephen King has continued to find fault with it, with most of his complaints being related to changes Kubrick made to his story, but perhaps King is just too close to the material to be an objective judge. Whatever your opinion of the story or the changes made in the adaptation, it's undeniably a visual masterpiece. Kubrick makes innovative use of a moving steadicam. The camera is almost constantly in motion. We follow the characters through the Overlook hotel and the maze on its grounds. This is particularly effective in the scenes where we see Danny riding his Big Wheel through the hallways and in the climax during the chase through the maze. But even in the more mundane moments, we follow Wendy and Jack as they walk through the hotel until the point where the Overlook becomes a character in its own right. The scares are of the creepy variety rather than the jump out of your seat kind. It's the isolation and the buildup to the film's supernatural moments that really make them effective.

Those little girls and the old lady in room 237 are the most memorable, but there's a tension that underlies almost every scene. It's easy to forget that for a such a famous horror movie there's actually only one onscreen death. One complaint of King's has been about the casting of Nicholson and I do see his point. Jack is terrific when he goes on his murderous rampage, but because of the baggage he brings to the part, the journey from sanity to madness doesn't seem like a long trip. He seems pretty near the edge from the very beginning of the film and he's not a very sympathetic character at any point. Interestingly for such a supernatural film, for most of the movie it's never clear if what's happening is supernatural. Is Jack crazy? Is Danny just a troubled child? Notice how whenever Jack speaks to a ghost he's standing by a mirror, or, in the case of the food pantry, a shiny metal door. Are the "ghosts" just a reflection of his own madness? Is Danny's invisible friend just a figment of his own imagination?

It's not until the ghost of Grady opens the locked door that it becomes apparent that what's happening isn't just in the minds of the father and son. I second Eric's compliments of Danny Lloyd. His performance is terrific. He's completely natural in the part and virtually steals the movie. Duvall as well delivers a fantastic performance. Her character is frustrating at times because she seems so weak. After her story to the doctor at the beginning of the film however, it's not a stretch to imagine that Danny wasn't the only one to suffer physically at the hands of Jack. Nicholson is also good, even though at times I felt that his quips as he threatened his family bordered on being too comical. Ultimately though, this is a director's movie as most of Kubrick's films were. He creates and sustains a mood with his use of color, camera movements and an eerie soundtrack. His imagery is often dreamlike and it's difficult to look away from what's happening on screen. His unique vision more than makes up for any small weaknesses or inconsistencies in the script or characterizations. Did you enjoy Scott's review? +6 Reviewed on: November 5th, 2014 Shelley Duvall in The Shining.

I have those same vivid memories of seeing The Shining as a kid. It was easily one of the scariest movies my 14-year-old self had ever seen and remains so to this day. I've watched it a few times over the years, the time before this was probably three years ago, and it never fails to creep me out. I spent the summer of 2014 reading the novel for the first time, as well as the author's long awaited sequel called Doctor Sleep. Since my opinion of the film mirrors that of my brothers, I will instead spend my review comparing Kubrick's movie to King's novel. I will be giving away major plot points from both, so stop reading now if you don't want to know. King goes into greater detail introducing the characters and filling us in on Jack's troubled past before they arrive at the Overlook. It takes King until chapter 12, page 129 to get to the part where Ullman is giving the Torrance family the grand tour, Kubrick gets there in less than 30 minutes.

In the book we learn more details about how Jack once broke Danny's arm, and how he lost a teaching position due to his drinking and subsequent inability to control his temper. Jack's having trouble supporting his family and he's desperate for the job at The Overlook Hotel. He gets the interview only after an old mentor of his pulled a few strings. In the movie it is shown as pretty much just a great opportunity for Jack to write his novel in seclusion. Jack's alcoholism is glossed over in the movie. While he does drink in a few scenes it isn't shown as triggering his psychotic episodes as clearly as it does in the book. King was an alcoholic while, as far as I know anyway, Kubrick was not. Perhaps this explains the change of focus. Danny, in the novel, is extremely intelligent for his age and more open about his psychic gift. He also has a much stronger bond to his father. As mentioned above, there are obvious limitations to casting a six-year-old child in a horror movie like The Shining. It makes sense that in Kubrick's version Danny is closer to his mother since, by necessity, Danny Lloyd would share more scenes with Shelley Duvall than with Jack Nicholson.

As for Wendy, in the novel she has a less codependent personality. The dialogue at the doctor's office where she excuses Jack's violent behavior is not in the book. On the written page, even during the most terrifying moments, she is never reduced to crying hysterically as she is shown doing in the movie. Of course it is Duvall's wonderful performance that really helps sell the horrors of the Overlook Hotel. Very few actresses can maintain such a believable expression of wide-eyed, shrieking terror (see photo) like she does for the final thirty minutes or so. Bravura! Other differences include the iconic hedge maze that features so prominently in the movie's climax. In King's version there is no maze. Instead there is a topiary animal garden featuring lions and dogs that come to life and move about from time to time, something that would have required greater special effects than were available in 1980 to believably pull off. In the book Dick Hallorann (the hotel cook played by Scatman Crothers) comes to the rescue from Florida just like in the movie. The difference is that Jack kills him on the screen but only wounds him on the page. I'm a fan of Stephen King.

I fully enjoyed his book and he deserves all the credit for creating these characters and the Overlook Hotel. However, Stanley Kubrick's movie is a classic horror film while King's novel is merely a scary summer read. One is a masterpiece and the other is pulp. Some of the most famous things in the movie were created for the screen. The wall of blood, the creepy twins, the “All Work and No Play Makes Jack a Dull Boy” scene as well as some of the most quoted lines including, “Here's Johnny!” were thought up either by Kubrick or Diane Johnson, who adapted the screenplay. I think Jack Nicholson is brilliantly over-the-top as Jack Torrance even though he is, admittedly, quite a different man from the guy in the book. Most importantly, perhaps, is the look of the movie. It was brilliantly and seamlessly shot and the hotel sets are some of the best ever built for a film. The Overlook Hotel is alive. In the book it wants Danny because of his powerful Shining. In the movie it wants Jack because he is the reincarnated soul of the 1920's caretaker. In the book Jack dies when the hotel boiler blows up.

In the movie he freezes to death in the maze. In the book the evil at the Overlook is defeated as it goes up in flames. In the movie the hotel survives to haunt another day, a new (old) soul held prisoner. Now that's a proper ending for a tale of horror such as The Shining. Did you enjoy Patrick's review? +7 The Shining (1980) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.

Director: From $2.99 (SD) on Amazon Video ON DISC a list of 49 titles created 20 Dec 2011 a list of 26 titles created 22 Dec 2012 a list of 24 titles created 30 Nov 2013 a list of 23 titles created 27 Oct 2015 a list of 43 titles created 4 months ago Search for " The Shining " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. 3 wins & 5 nominations. See more awards » Videos 1 2 3 4 5 6 7 8 9 10 8.3/10 X In future Britain, Alex DeLarge, a charismatic and psycopath delinquent, who likes to practice crimes and ultra-violence with his gang, is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan. Director: Stanley Kubrick A pragmatic U.S.

Marine observes the dehumanizing effects the Vietnam War has on his fellow recruits from their brutal boot camp training to the bloody street fighting in Hue. Director: Stanley Kubrick Humanity finds a mysterious, obviously artificial object buried beneath the Lunar surface and, with the intelligent computer H.A.L. 9000, sets off on a quest. Director: Stanley Kubrick A criminal pleads insanity after getting into trouble again and once in the mental institution rebels against the oppressive nurse and rallies up the scared patients. Director: Milos Forman A young F.B.I. cadet must confide in an incarcerated and manipulative killer to receive his help on catching another serial killer who skins his victims. Director: Jonathan Demme A mentally unstable Vietnam War veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process. Director: Martin Scorsese The lives of two mob hit men, a boxer, a gangster's wife, and a pair of diner bandits intertwine in four tales of violence and redemption.

Director: Quentin Tarantino A Phoenix secretary embezzles $40,000 from her employer's client, goes on the run, and checks into a remote motel run by a young man under the domination of his mother. Director: Alfred Hitchcock After a simple jewelry heist goes terribly wrong, the surviving criminals begin to suspect that one of them is a police informant. Director: Quentin Tarantino A sexually frustrated suburban father has a mid-life crisis after becoming infatuated with his daughter's best friend. Director: Sam Mendes Marty McFly, a 17-year-old high school student, is accidentally sent 30 years into the past in a time-traveling DeLorean invented by his close friend, the maverick scientist Doc Brown. Director: Robert Zemeckis 1 2 3 4 5 6 7 8 9 10 8.5/10 X After a space merchant vessel perceives an unknown transmission as distress call, their landing on the source moon finds one of the crew attacked by a mysterious lifeform. Continuing their journey back to Earth with the attacked crew having recovered and the critter deceased, they soon realize that its life cycle has merely begun.

Director: Ridley Scott Edit Storyline Signing a contract, Jack Torrance, a normal writer and former teacher agrees to take care of a hotel which has a long, violent past that puts everyone in the hotel in a nervous situation. While Jack slowly gets more violent and angry of his life, his son, Danny, tries to use a special talent, the "Shining", to inform the people outside about whatever that is going on in the hotel. Written by J. S. Golden The tide of terror that swept America IS HERE [UK Poster] See more » Genres: 13 June 1980 (USA) See more » Also Known As: Stanley Kubrick's 'The Shining' See more » Filming Locations: Did You Know? Trivia In the novel, Jack used to look in the window of a bar near his home and get tempted but drinking never made the thirst go away for him or Danny in the book sequel Doctor Sleep; this scene was recreated in the miniseries. See more » Goofs At the beginning of the movie, when Danny and Wendy are still in Boulder, we see Danny talking to Tony in the bathroom mirror.

The Disney character Dopey Dwarf is on Danny's bedroom door; however, when the doctor comes to check on Danny after his incident, Dopey is missing. See more » Quotes See more » Crazy Credits The party music plays over the closing credits. After it ends, we hear the Overlook Hotel ghosts applaud. They then talk amongst themselves until their voices fade away. See more » Connections (Houston, Texas) – See all my reviews Stephen King may have said the master director knew nothing about horror, but that simply is not true. That is a too biased opinion for anyone to go on given that he wrote the book, which Kubrick based his wonderful film ever so loosely on. And at any rate, faithful or not, KUBRICK's Shining-the BEST crafted genre film of the 80's- performs it's duty as a fright flick, and then some. There are appropriately no words strong enough to convey the haunting beauty of the visuals showcased throughout the movie, from the drive to the Overlook to the final chase in the hedgemaze the movie is a feast for the eyes as it is for the mind.

And it IS a feast for the mind as The Shining is as psychological as horror gets, toying relentlessly, and expertly with your emotions and expectations(some could even say SADISTICALLY), throwing something in that's completely out of left field and never, ever letting you catch your breath between the now classic shocks as the movie speeds toward it's memorable conclusion in the last half hour. Kudos are in order for Kubrick, a director of the old school style, who builds an eerie atmosphere by exercising total control over the filmic environment, manipulating everything down to the tiniest detail to suit the needs of the picture, yet filming with a coldly detatched, objective eye, as though Kubrick were making a documentary about these events. This would account for the dialouge, which-thankfully-is not the typical phoney balloney Hollywood banter (Kubrick detractors/King purists usually bitch about this the most, having been weaned on the phony nature of 'Hollywood talk', which is usually nothing at all like real talk.

Many of us speak 'on the nose', and do not try to convey subtext through use of carefully chosen words that articulate our state of being without being direct.) In this light, Shelley Duvall must be commended for her performance which is very naturalistic. It does not seem like acting at all. She is not concerned with glamour, nor does she clutter her performance with typical acting chops, but rather she is solely focussed on hitting the emotional highpoints of her character as 'Wendy' gradually comes to realize that her husband is a madman. And let's face it folks, how many of us would like a million bucks when placed in a situation like that? Who does NOT look like a blubbering idiot when they are hysterical? That's what I thought, so what did you expect? She was great. To say nothing of the rest of the cast. 263 of 354 people found this review helpful. Was this review helpful to you? Yes THE SHINING ( FILMING LOCATION ) Kubrick Jack Nicholson - YouTube THE SHINING ( FILMING LOCATION ) Kubrick Jack Nicholson Want to watch this again later? Sign in to add this video to a playlist. Need to report the video?

Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Nov 26, 2012 Follow me on FACEBOOK blog : The Shining is a 1980 horror film directed by Stanley Kubrick, based on Stephen King's novel of the same name. The film stars Jack Nicholson as tormented writer Jack Torrance, Shelley Duvall as his wife, Wendy, and Danny Lloyd as their son, Danny. The film tells the story of a writer, Jack Torrance (Jack Nicholson), who accepts the job of the winter caretaker at a hotel which always gets snowed in during the winter. While his family looks around the hotel during closing day, the psychic hotel chef discovers the psychic abilities of Jack's son Danny, and Danny's ability to detect ghostly presences in the hotel. In the chef's family, this ability is called "shining". When the hotel becomes snowbound, Jack Torrance is driven mad by the ghosts in the hotel, and he tries to murder his wife and son. Initial response to the film was mixed, and it performed moderately at the box office.

Subsequent critical assessment of the film has been more favorable, and it is now viewed as a classic of the horror genre. The entire film was shot on soundstages at EMI Elstree Studios in Borehamwood, England. The set for the Overlook Hotel was then the largest ever built. It included a full recreation of the exterior of the hotel, as well as the interiors. A few exterior shots by a second unit crew were done at Timberline Lodge on Mount Hood in Oregon. They are noticeable because the hedge maze is missing. The interiors are based on those of the Ahwahnee hotel in Yosemite National Park. Category The Shining (Film) - TV Tropes The Shining You need to login to do this. Get Known if you don't have an account Share Timeline HERE'S JOHNNY!!! The Shining is a 1980 horror film loosely based on Stephen King 's novel of the same name . It was directed by Stanley Kubrick and starred Jack Nicholson and Shelley Duvall. Jack Torrance (Nicholson) is an alcoholic writer who takes a job as a winter caretaker for the old and luxurious Overlook Hotel, which every winter becomes completely snowed in.

He brings along his wife Wendy (Duvall) and son Danny (Danny Lloyd). As time passes, strange things start happening: Danny discovers he has psychic powers and starts receiving odd visions. In the meantime, Jack starts becoming more and more unstable: he had been warned that the previous caretaker snapped and killed his family, but that wouldn't happen again... right? In a serious case of either Tempting Fate or Paranoia Fuel , The Shining is screened every year at midwinter for those "wintering-over" at the Amundsen-Scott South Pole Station, alongside The Thing . The Stanley Hotel in Colorado, which inspired King's novel, has a channel on their cable TV that plays the film twenty-four hours a day. Some interpretations of the film's themes are explored in the Documentary , Room 237. Not to be confused with the Shining Series of videogames.

This film provides examples of: Adaptation Distillation : The movie cuts most of the exposition and backstory, as well as the context for some scenes, such as the true nature of Danny's imaginary friend Tony (in the book he's Danny from the future), the woman in Room 237 and the two men in masquerade costumes Wendy sees while searching for Danny. The movie is arguably better for it, as it would be difficult to properly convey these in a visual medium, as the later mini-series remake would prove. Adaptation Dye-Job : Wendy and Jack are blonde in the novel, but have dark hair in the movie. Adaptational Attractiveness : Inverted with Wendy. She's described as being a conventionally attractive in the book, whereas in the film she's portrayed by Shelley Duvall, who is more waif-like and fragile-looking than her novel counterpart. Adaptation Explanation Extrication : See Mythology Gag below. Adaptational Heroism : In the book, Mr Ullman is a condescending, overbearing Smug Snake who epitomises everything Jack hates about authority figures and makes it clear that he doesn't want Jack at the hotel.

In the film, he is very friendly, polite and completely approves of Jack as the caretaker. Adaptational Villainy : In the book Jack is a loving husband and father (but still recovering from alcoholism) made vulnerable to the hotel's influence by demons. In the film, his seething resentment of his family is played up a hundredfold, made obvious from the very beginning, and almost completely removes the positive traits and the struggle against evil of his character, making him more of a Villain Protagonist . Adult Fear : In the climax where crazed Jack goes after Danny outside in the heavily snowed-in hedge maze with the full intent of killing his own son. What makes this worse it that Wendy is inside the house desperately searching for Danny, and has absolutely no idea where he is. Also, mid-film, when Danny appears with a huge bruise on his neck, and tells his mother that a crazy stranger strangled him. Affably Evil : Grady and Lloyd the bartender. Alien Geometries : The layout of the hotel makes no sense whatsoever.

Stuart Ullman's office has a nice big window in the middle of the building; the Colorado Room has multiple floor to ceiling windows with a mystery hallway behind them. The hotel interiors have nice right angles while the outside doesn't. The freezer flips sides of the hallway between shots. The spaces between the doorways in Room 237's hallway are far too small to actually contain any rooms of that size. This was done deliberately for dramatic/horror effect. The Alcoholic : Jack. At one point he bemoans the fact that there is no alcohol to be had , and then Lloyd appears at the bar and serves him some whiskey... All There in the Manual : At the end, when Jack is lost in the maze, his words appear to be unintelligble roars. But the closed captions reveal that he is actually trying to call for help, in which case the Wham Shot of him frozen to death in the snow makes a lot more sense in context. Ambiguous Ending : Probably one of the most famous examples in recent years of horror film history, and one that still garners discussion and interpretation to this day.

As if Danny exiting the maze, reuniting with Wendy, and escaping the hotel while Jack freezes to death in the maze wasn't enough, the film hits you with one last image: a picture of the July 4th hotel ball in 1921...that has Jack in it. Angrish : An Ax-Crazy Jack Torrance falls into these near the end of the movie when he is reduced to only being able to moan like a wounded animal. Arc Words : All work and no play makes Jack a dull boy ...forever and ever and ever. Asshole Victim : Arguably, Jack and even Grady are both victims of the Overlook. Ax-Crazy : Jack is perhaps the iconic example of this trope in film toward the end, when he tries to murder his wife and son with an axe. Not to mention Grady before him, who unfortunately succeeded in carrying out his rampage. An Axe to Grind / Axe Before Entering : One of the most famous examples, played straight but also turned Up to Eleven in that, while Jack is hacking his way through the door, the camera follows the motion of the axe, thereby briefly making the axe a POV character.

Real Life Writes the Plot : At least in the set design for that scene. The props department originally built a door that could be easily broken, but Jack Nicholson - who had worked as a volunteer fire marshal - was able to smash through it far too quickly. A much stronger door was used in order to slow him down. Background Halo : Inverted with the black chandeliers, which gave Jack a "black halo" post-snap. Evil Brit : Delbert Grady. Evil Eyebrows : Even if you knew nothing about Jack Nicholson before seeing this movie, you'd still be able to guess what's going to happen to him just by looking at his eyebrows alone, to the point where King objected to the casting of Nicholson and begged Kubrick to reconsider. Evil Laugh / Laughing Mad : Jack lets out several during the course of his breakdown, such as the little creepy chuckle he gives out after he says "I'm gonna bash [your brains] right the fuck in!" to Wendy. Fan Disservice : The hot girl in the bathroom. She appears fully naked and upfront, yet it still looks creepy rather than sexy.

On top of that , she turns into a rotten naked old corpse-woman who cackles in the creepiest manner possible! The shots of her naked are also inter cut with shots of Jack's psychotic face, which would be a real mood killer even if the scene wasn't already creepy. Faux Affably Evil : Jack after he snaps. His politeness to his wife and son (calling Wendy his "love" and the "light of [his] life" as well as telling Danny that he'd never hurt him) don't seem to help as his mental state gets worse. The poster and Pop-Cultural Osmosis really doesn't leave much to the imagination as to what Jack ends up doing . Stephen King himself considered Jack Nicholson's casting to be sort of a spoiler in this regard also, considering Nicholson's best-known film at the time was One Flew Over the Cuckoo's Nest - where he plays a "crazy" guy. Gainax Ending : The ambiguity of the final image presented by the film (a picture of a July 4th hotel ball in 1921 that has Jack among the crowd) has been the source of lots of interpretations.

Gaslighting : The film does this to the viewer in a number of subtle ways, from disappearing/reappearing furniture to the Alien Geometries mentioned above. It adds to the mazelike quality of the Hotel, increasing the tension. Getting Crap Past the Radar : Allegedly Kubrick told the MPAA that the torrent rushing out of the elevators was rusty water and not blood in order to get the movie's trailer shown. At the time the MPAA did not allow blood to be depicted in trailers. Hedge Maze : The Overlook has an iconic one not present in the book , the perfect place for a scary chase scene. There is also a scale model inside the hotel. History Repeats : From the start of the film, during his interview for the winter caretaker job, Jack is warned that the last guy who took the job murdered his family and then himself. Take three guesses as to what happened to Jack over the course of the film ... Taken up a notch with the iconic final image, a cryptic photograph dating back to 1921 which has Jack in the foreground.

Interpretations have come to conclusions commonly fitting under the idea that Jack has been absorbed into the hotel along with all the other ghostly 'guests' in the picture, and the Jack we see in the movie is a reincarnation. Indian Burial Ground : The Overlook is built on one. In 1987 San Francisco Chronicle columnist Bill Blakemore penned a rather intriguing essay arguing that the film is a hidden commentary on the genocide of the American Indian . I Never Told You My Name : When Hallorann calls little Danny Torrance "Doc", his parents ask how he knew that's what they call him. Hallorann answers by saying Danny just looks like a Doc, but the real reason is that Danny and Hallorann both share a psychic ability, " the Shining ". Jump Scare : The famous image of Jack frozen to death comes up suddenly out of nowhere accompanied by a Scare Chord after Jack slumps to the ground in the maze. When Hallorann walks down the empty lobby hallway, everything is silent ...until a yelling Jack suddenly emerges from behind one of the pillars and plunges his axe into Hallorann's chest. ◊ .

Large Ham : Jack Torrance, summed up by "Jack Nicholson hardly does a subdued performance" + " Evil Is Hammy ". ( Steven Spielberg first stated to Kubrick he felt Nicholson was too over-the-top. Kubrick replied by comparing him to James Cagney ) Legacy Character : Jack has always been the caretaker, according to Grady. Locked in the Bathroom : Wendy locks herself in the bathroom to hide from the now (literally!) Ax-Crazy Jack. The lock holds. The door doesn't. "All work and no play makes Jack a dull boy." "REDRUM! REDRUM! REDRUM! REDRUM! REDRUM!" The Maze : The Overlook Hedge Maze. Wendy and Danny are shown exploring through it midway through the movie, giving Danny an advantage in the finale as he flees the insane Jack through it, trapping his father there until the possessed man freezes to death. Maybe Magic, Maybe Mundane : The film is more ambiguous towards the supernatural aspects of the story. However, the titular "Shining" is equally effective in both the film and the book - warning clearly of danger seconds before the axe hits the bathroom door. Mind Screw : Pick any moment of this movie. ANY.

The entire concept of the hotel itself is this trope, as there are doors that lead to nowhere, room layouts that make no sense, and overall impossible building structure. Mirror Scare : Used in the scene with the naked woman, crossed with The Mirror Shows Your True Self . As Jack is caressing and kissing the woman, he looks into the mirror and is horrified to find he is embracing an old, rotting naked woman. When Danny draws "REDRUM" on the door while Wendy is asleep, his repeated uttering of the word wakes her up, and as she hugs him she looks into the mirror and sees the word reversed ("MURDER"). Most Writers Are Writers : The fact that Jack is a writer who is suffering severely from Writer's Block is the reason the family goes to the hotel in the first place. Mythology Gag : Kubrick dispensed with several of the novel's plot points but kept references to them in the movie. The book explains just where Danny's imaginary friend "Tony" comes from, who the dead lady in the bathtub is, and who the person in the dog costume delivering a blow job is. The film keeps these elements but with no explanation.

Also, Kubrick did not use the novel's climax— exploding boiler destroys the hotel—but still showed the boiler in a couple of scenes. Never Trust a Trailer : The original trailer for the movie shows the credits overlaid over the elevator doors, and then a torrent of blood flooding the hallway and blanketing the camera. While this scene does appear in the movie, it hints at a much gorier, murder-heavy film than it actually is. Particularly when you consider that only two characters die, and only one of those is murdered. No, Except Yes : This line, as Jack has lost it and starts menacing his wife. Jack: I'm not gonna hurt ya. You didn't let me finish my sentence. I said I'm not gonna hurt ya. I'm just gonna bash your brains in. I'm gonna bash them right the fuck in! Nothing Is Scarier : The scenes of Danny riding his Big Wheel through the hotel, which have no sound other than the wheels on the floor. The scene with Hallorann navigating the empty lobby, since we know Jack is coming for him but the place is empty and silent. Eventually, Jack emerges from one of the pillars and hacks Hallorann to death with an axe.

Ominous Latin Chanting : As Jack is chasing down Danny through the hedge maze and Wendy is in the Overlook Hotel desperately searching for Danny, starting to hallucinate, you can hear ominous Old Church Slavonic chanting from Penderecki's Utrenja. Paint the Town Red : The elevator scene. Pater Familicide : Grady did this, and Jack attempts it. Politically Incorrect Villain : Grady refers to Hallorann as "a nigger cook". Doubles as Deliberate Values Dissonance , as Grady appears to a be the ghost of a butler from the 20s. See Indian Burial Ground above for a more ambitious unpacking of this. Jack is certainly counts too. He makes the offhanded comment about the white man's burden and repeats Grady's phrase about a "nigger cook," as well as several misogynistic remarks about women. Pop-Cultural Osmosis : The twins in front of the elevator (in-universe) aren't twins at all. Just sisters who dress and look the same. Still doesn't make them any less murdered by their crazy dad.

Pragmatic Adaptation : While the movie departs from the book quite a bit, it can stand on its own. Precision F-Strike : The first instance of abuse of Wendy by Jack is verbal, telling her quietly to "start [leaving him alone] right now and get the fuck out of here." As his sanity breaks, he starts using the word a little bit more liberally. Psychological Horror : It takes it Up to Eleven by making the supernatural elements much more ambiguous than in the books. Psycho Strings : Half the score sounds very much like Bernard Herrmann's work, but it's actually avant-garde modernist music by Bï¿½la Bartï¿½k , György Ligeti and Krzysztof Pendercki. The Radio Dies First : When Jack decides to kill Wendy and Danny, one of his first acts is to disable the radio so she cannot call for help. Randomly Reversed Letters : Danny, who's channeling the hotel's evil, writes his Madness Mantra , "REDRUM" ("MURDER" in reverse) in crayon on the bathroom door with the middle two letters backwards.

Reality Warper : The hotel is hinted as having elements of this; see Alien Geometries above, but also the last shot may imply that the spirits of the people the Overlook absorbs now exist outside time. Reality Ensues : Unlike the novel, Wendy is not a stunning blonde who for some reason is devoted to her average-looking, alcoholic, abusive husband (who has shown some promise as a writer but has only had a single story published). Instead, as played by Shelley Duvall she is a sweet, mousy woman who is cowering and ingratiating around Jack to the point of being irritating...that is, the type of wife someone like him would probably end up with. She also acts as most people would when confronted with an axe-wielding maniac—she blubber and whimpers rather than showing heroic dignity. She does prove to have enough inner strength and resourcefulness to save Danny and herself. Kubrick's refusal to play to genre stereotypes has led to fans (and Stephen King himself) dumping on Shelly Duvall's performance for years. Re Cut : When the film premiered, it had a final scene in which Ullman visits Wendy and Danny at the hospital and explains that Jack's body could not be found .

About three weeks into release, Kubrick ordered this scene excised from all prints. Kubrick then trimmed an additional 30 minutes of footage for the film's European theatrical release. This shorter cut, which was his preferred version of the film, is also used for non-US DVD releases. Rivers of Blood : Blood pours out of an elevator, flooding a hotel hallway. Room Full of Crazy : "All work and no play makes Jack a dull boy." It's particularly unsettling because of the sheer number of pages, with the tacit implication that Jack has been gradually losing his mind almost from the instant the family arrived in the hotel. Sanity Slippage : The hotel causes every caretaker to lose his mind. Stephen King stated his book was about a normal man who goes crazy, and that Stanley Kubrick's film was about a crazy man who goes absolutely bonkers . Scenery Porn : The opening, which shows Jack's drive to the hotel alongside beautiful scenery shots of Saint Mary Lake. Shoot the Shaggy Dog : A major subplot is Dick Hallorann trying to contact and subsequently save the Torrances. As soon as he arrives at the Overlook, Jack axes him and he dies.

Subverted Trope : His arrival with a Snowcat is what allows Wendy and Danny to escape the hotel, so Hallorann technically succeeded in saving them. " Here's Johnny !". The scene itself homages one from the 1921 Swedish silent film Körkarlen ( The Phantom Carriage ). Wendy watches Summer of '42 on TV, and later Danny watches Road Runner cartoons . When breaking the bathroom door, Jack quotes The Big Bad Wolf from Three Little Pigs . Slasher Movie : The movie was a much different take on the kind of slasher movies that were becoming popular at the time. It's much more psychological; it's what happens when Stanley Kubrick makes one. Notably, there are only two deaths in the film. Slasher Smile : Just look at a picture of Jack during the "Here's Johnny!" scene. Of course, he is played by Jack Nicholson, so that sort of thing is expected. Sliding Scale of Adaptation Modification : The film is interesting in that it starts out as a Type 4 (Near Identical Adaptation), but it gradually deviates further and further from the book until it becomes a Type 2 (Recognizable Adaptation).

Snow Means Death : Justified, with Jack freezing to death in the hedge maze. Soundtrack Dissonance : "Midnight, with the stars and youuuu..." "I love you, Danny. I love you more than anything else in the whole world. And I would never do anything to hurt ya, never. You know that, don't ya? Huh?" to Bï¿½la Bartï¿½k 's somber and menacing Music for Percussion, Strings and Celesta. Also hearing the light-hearted Road Runner cartoons in the background of otherwise deadly serious scenes. Trail of Bread Crumbs : Jack tracks Danny through the hedge maze by following Danny's footsteps in the snow. Danny quickly realizes what is going on and back-tracks through his own footsteps to throw Jack off the trail . He then follows Jack's footprints in reverse to quickly escape from the maze. Wendy jokes about having to leave a trail of bread crumbs to find her way around the hotel. Uncanny Valley : Deliberately invoked by Nicholson's acting towards the beginning of the film; he seems to be cheery and dapper, but there's just something off about it, and it all feels horribly phony.

Most likely done to call attention to his need for a drink . Unreliable Narrator : Roger Ebert argued that what makes the film so disturbing is that all of the main characters might be examples of this - the audience is never given unambiguous evidence that any of Jack, Wendy or Danny's perspectives is objective and accurate. The Unreveal : Was the Overlook really haunted or was it just cabin fever? Just what exactly was Tony? Why did the "ghosts" want Jack to kill his family? All these questions and MANY more are never answered, but hey, that's Kubrick for you. Villainous Breakdown : As Jack chases Danny into the maze and begins to slowly freeze to death, his words become more slurred and begin to degenerate until he is just bellowing like an ox. Wham Line : The caption of the final image of the film. As if Jack in the foreground wasn't significant enough, the shot lowers to the description of the picture: "Overlook Hotel - July 4th Ball - 1921". Wham Shot : The image of Jack frozen to death.

The final shot, no less, which focuses on a picture from a July 4th ball at the hotel in 1921. The cross-dissolves slowly zoom in on a person in the picture until you realize that person is Jack. Wounded Gazelle Gambit : " Wendy? Baby? I think you hurt my head real bad..." Writers Cannot Do Math : Wendy tells the doctor that Danny's shoulder had been dislocated six months earlier. Later, while bitching to Lloyd the Bartender, Jack says that the dislocated shoulder incident had happened three years earlier. Also, when talking to Lloyd, when taking his first drink, he says: "Here's to five months on the wagon, and all the irreparable harm it's done," calling to mind how Wendy said Jack had stopped drinking when he hurt Danny, yet just a moment later, he makes the "three years" comment. It may have been to show just how much Jack is losing it, that he can no longer correctly recall important things like that, and can only focus on his desire for alcohol. :: Indexes ::

Question: What is the name of the hotel in the 1980 film ‘The Shining’, starring Jack Nicholson?
Answer: The Overlook Hotel